There are only one or 2 moves in goju kata that I "reverse" in bunkai and I'm not sure what to make of these. I wonder whether -

(a) the kata were deliberately designed that way "as a code" (something I think is a bit overstated nowadays); or(b) the kata were deliberately designed that way for an application I haven't seen; or (c) the kata were deliberately designed that way for training or symbolic purposes (eg. stepping forward on the last move in gekisai dai ichi), not for any particular bunkai; or(d) the kata have been wrongly passed down in respect of a particular move.

The problem is that the kata is performed with a step forward. I think it is practically impossible to catch a kick as it moves out - you stand a much better chance of letting the kick pass its maximum velocity and then catch it just before/just as he is about to retract it. To my mind this requires a step back, not forward.

Tou'on ryu (and some goju schools) make sense of the leg catch by going right down to the ground and scooping at the ankle. I think this has "hairs" on it, but it does make some sense of the move.

My best guess is however that the move was probably meant to involve a step back. What say you? Similar moves in CMA have a step back in the form. Consider this move at 0:26 which is a block but can be converted into a leg catch:http://www.youtube.com/watch?v=oDaHVXzmccE.

Question: if you work the kata backwards do you hear lyrics about the devil? j/k

My newbie 2 cents: I don't think working a kata backwards has any positive benefits. I think it's better to work off of 'keys' and see how they can be plugged into the kata. For example, one key idea could be to look for tai sabaki/off line movements and interpret as a throw. Going through the kata, looking for throws, and what came immediately before and after to find discreet sections. What comes out of that? Nothing? Move on.

Depends on where you want to catch the leg. Moving backwards is easier to time,but you would catch the end of the leg. Stepping forward gets you 'in' ,as is the nature of goju, for grappling techniques.

The bunaki shown in the clip is incorrect to me. Notice how he steps back to catch the leg, then steps forward. Too much wasted movement there. What keeps the attacker at bay while you go back and forth?

Another thing to consider is this. I see people's bunkai as someone always attacking from directly infront of you and from a distance. It changes the dynamics a bit if you think of your attacker located somewhere people might actually attack from,lol.

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The2nd ammendment, it makes all the others possible. <///<

Using link #2 any chance that "catch" is on the wrong side (ie should be done to the outside rather than the inside)??? That would make the forward movement very beneficial...

What about the forward motion itself (ie changing the angle)? Such that not straight but angled is how you end up, as the clip showed. The leg lock shown obviously works but could have range issues on the inside depending on the reach and how the opponents ankle is cradled/locked.

Lots of us have struggled with assorted kata and the same correct direction issue.

Re: too much wasted movement (eg step back THEN forward) could be a guaranteed safety factor there? Some movements I do not want to do even slowly in order to avoid damaging my partner guarantee their safety. Such that I would hold the weight, make SURE I've got it then go forward with that leg... prevent doing the forward shift/drop and smashing someone to the ground too quickly...

Hello:<< if you work the kata backwards do you hear lyrics about the devil? j/k

<<find discreet sections.

Subtilities, nuances... yup!

<<What comes out of that? Nothing? Move on.

No, no, no... keep exploring, keep working on that, make CERTAIN there is "nothing" there for months. Abandon it prematurely, instantly and I miss valuable pieces, parts. Unpopular but true... that "mold" stuff took a while to grow, the lighbulb more than one attempt to figure out the right way. Maybe the box IS empty, but I'll keep watching/playing with it and who knows what I'll find...